Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990's and has since then appeared on over one hundred audio publications, including nine solo CD's.

He has performed throughout Europe, North America, Argentina, New Zealand, Australia, Korea, China, Singapore and Malaysia, performing and recording both as a soloist and in collaboration with numerous other musicians.

As an active organizer of concerts in Tokyo, Nakamura has helped many musicians coming to Japan find places to perform, both with himself and with others. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.

Yuma Takeshita started playing experimental / improvised music around 2001. After moving to Tokyo in 2011 he began constructing his own instruments by modifying an electronic-bass guitar with different sound modules and machines.

・"the most impressive was Takeshita, who fluently improvised with his electronically extended instrument. Since the 1970’s, free improvisation has been one of the biggest challenges in the field of live electronic music and new instruments with a lineage of novel attempts such as Gordon Mumma’s Ambivex（*1） and Nic Collins’ Trombonepropelled Electronics（*2）. It was obvious that what Takeshita played was more than a gadget, but an instrument that reflected actual playing experience in unpredictable situations and enabled him to achieve a distinct musical voice.“ - https://www.realtokyo.co.jp/en/performance/bar-isshee-sendagi_june-5-2018/

・”he began building his own electronic bass, an instrument that slowly developed through his love of modified sounds and textures. It would go on to become a large component of his music and aid him in his endeavors to eschew traditional electronic creation.“ - https://noogatoday.6amcity.com/the-tape-deck-june-2017/